November 16, 2017 Dream Diaries The Insomniac’s Dream Diary: Part Four By Vladimir Nabokov Copyright © Ellis Rosen This week, we’ll be running a series of dreams from the forthcoming Insomniac Dreams: Experiments with Time. For nearly three months in 1964, Nabokov recorded his dreams upon waking, as a way of testing J. W. Dunne’s theory that dreams offered not only “fragments of past impressions,” but also “a proleptic view of an event to come.” In other words, that dreams were a sort of reverse déjà vu, a way of subconsciously working through not only the past but the future. In this fourth installment, Nabokov has a confrontation with his father. 38. 22 Nov. 1964 3.15 am In a kind of lecture-hall during an informal performance or rehearsal of lecture. On the platform my father seated at a small table is reading and discussing something. Several people between the stage and me. Am eagerly taking down what he says. My mother is among the four or five people sitting in front of me. My father is now elucidating a point. I see and appreciate it and clear my throat a trifle too loudly while trying to jot down his argument as fully as possible. From the stage he suddenly addresses me—I nod my head supposing he is making the possible objection I have foreseen; but instead, he says to me: “Even if you are <new card> bored you might have the decency to sit quietly.” I feel deeply injured and reply (textual words [transl. from Russian], chosen and uttered with great care and dignity): “I think your observation to me is most unjust. I was listening attentively and with enormous interest.” I get up and start to leave hoping I shall be called back. But I hear behind me my father’s voice resuming his speech with a little less force than before. I visualize in a medallion of light to-morrow morning’s interview with him—imagine him in his beige dressing—<new card> gown. Shall I ignore what happened? Will he refer to it? I decide philosophically—a similar case has come up before within dream experience—that time will decide (curious that I saw myself imagining the future in my dream and vaguely recalling a past and that a sense of future, of time, clearly though somewhat crudely existed in my mind, i.e. I distinctly perceived the degree of difference in comparative reality between the dream vision and the dream prevision). It is odd that my father who was so good-natured, and gay, is always so morose and grim in my dreams. Read More
November 15, 2017 Arts & Culture The Electrifying Dreamworld of The Green Hand By Nicole Claveloux From “Purple Slideshows,” by Nicole Claveloux. I’ve been deeply in love with the work of Nicole Claveloux for close to forty years, which is strange because until the New York Review of Comics reissue of The Green Hand, I’d never actually read one of her stories. I don’t read French, but more to the point, it somehow seemed perilous to focus in any way on the text, as I feared it could only diminish the mysterious power of her images. I first saw her name in Heavy Metal magazine when I was in high school and, soon after, through some miracle, managed to blunder across a French album of her work called La main verte. I remember standing in the mildewed chaos of Larry’s Comics in Chicago (RIP), transfixed by the beautiful, electrified colors—unlike any I’d seen before (or since). I took it home and obsessed over every panel, drawn into an intimate, immersive private dream world of deep and complicated emotions, an obsession that has only deepened over the years with the acquisition of further volumes of her work, thanks to French eBay and my NYRC editors. Nitpickers and amateur sleuths may wonder how I could claim never to have read one of her stories while noting their appearance in an English-language magazine in the very next line, but both the bad reproduction quality and the slick relettering repelled my sensitive young eyeballs. To replace her fragile text with italicized pre–Comic Sans–ish shouting was like watching an Ozu film dubbed by a troupe of drivetime DJs. So I skimmed and squinted, holding out (for thirty years, as it turns out) for the optimal experience. I can offer no more biographical info about Ms. Claveloux than a page-one Google search, and I’m surely no expert on French comics history (though I do have some special favorites from that astonishing post-Underground era, like Yves Chaland, Serge Clerc, and Chantal Montellier, all published by Les Humanoïdes Associés). But, freed from the bonds of responsible scholarship, I can testify to how the work strikes me on a purely visceral level. Like the early films of David Lynch, there’s a recognizable, fully imagined world made to vibrate with genuine emotion and mystery by a fearless inward-focused artistic self-assurance and an intensely felt clarity of vision. This boldness is present throughout her work, from the fluid ease of the drawings to her dazzling stylistic shifts—from Crumb-level high detail to Heinz Edelman–esque playfulness in the span of a few panels. She is, to me, a crucial figure in the all-important transition from the early Undergrounds of the 1960s to the present day. I see her distinct influence in my own comics and those of many others of my generation and younger (Julie Doucet seems perhaps the closest to a direct heiress) who may well have never heard of her. Read More
November 15, 2017 Novemberance The Alchemy of November By Nina MacLaughlin This is the third installment of Nina MacLaughlin’s Novemberance column, which will run every Wednesday this month. Anselm Kiefer, Nigredo, 1984, oil, acrylic, emulsion, shellac, and straw on photograph and woodcut, mounted on canvas. Three uncarved pumpkins the size of candlepin bowling balls stud the mulch in the front garden of a neighbor’s house on the short street where I live. City creatures—squirrels, raccoons, rats—have chewed coin-size circles through the tough outer rind and into the stringy pale flesh below. These sections of gnaw are now ringed with black. The black of rot, a black that looks at once dusty, as though charred by the flame of time, and slick, like the vegetal squelch of something long forgotten in a drawer of the fridge. It is a definitive black, the black of something making slow return to a different state. Along the river, the milkweed pods have split and pour forth their seeded snow-white silk. I walk south along the river when the sun is in the final stages of its work, and scramble down the banks to look. Off tall stalks, desiccated pods spill a thrilling and climactic white. White like rabbit fur, like pearl, white that holds rainbows when the light hits right. The leaves of the young gingko trees that grow out of the sidewalk fell all at once. A few days ago, the fan-shaped leaves with their crenulated margins glowed gold from the branches and fluttered with nonchalance. The following morning, I gasped to see it: branches all but bare and the trees seemed to grow out of puddles of gold. At the cemetery nearby, a twisting Japanese maple is aflame, its feathery leaves a deep red, a bodily red, a red that blazes between wine and blood. Those leaves will grip the branches much deeper into the month than most of the trees around it, almost tauntingly, in a flare of lingering crimson. Read More
November 15, 2017 Dream Diaries The Insomniac’s Dream Diary: Part Three By Vladimir Nabokov Copyright © Ellis Rosen This week, we’ll be running a series of dreams from the forthcoming Insomniac Dreams: Experiments with Time. For nearly three months in 1964, Nabokov recorded his dreams upon waking, as a way of testing J. W. Dunne’s theory that dreams offered not only “fragments of past impressions,” but also “a proleptic view of an event to come.” In other words, that dreams were a sort of reverse déjà vu, a way of subconsciously working through not only the past but the future. In this third installment, Nabokov tries to console a girl, with sympathy that is “genuine” but “not free from desire,” and contemplates Dobuzhinsky’s autobiography. Nov. 13, 1964 6.30 am 31. Poignant bitter-sweet dream permeated with tenderness and hopelessness. Short girl, rather dumpy, slatternly dressed, bare-necked, face very attractive but not flawlessly pretty, broadish jaws, flattish nose, wonderful complexion, smooth, warmly colored skin, pale-blue eyes, bedraggled fair hair. Am trying in vain to console her: she has been badly hurt by faithless heartless young husband, a shadowy gay-dog figure in the background. I am doing my best to make her understand how dreadfully sorry I am for her, but she is completely wrapped up <new card> in her taciturn grief, is absolutely impenetrable no matter how I strain to “reach her,” «пробиться к ней»,[1] as I tell her in Russian—but all in vain, she looks up at me with apprehensive hunted gaze, ready to stiffen, bothered, resenting my sympathy which is quite genuine but not free from desire. (The young man is—a very obscure feeling—related to me—perhaps Dm.?!) Read More
November 14, 2017 Redux Redux: Maya Angelou, Denis Johnson, and James Schuyler By The Paris Review Every week, the editors of The Paris Review lift the paywall on a selection of interviews, stories, poems, and more from the magazine’s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by signing up for the Redux newsletter. This week, we bring you our 1990 interview with Maya Angelou, Denis Johnson’s story “Car-Crash While Hitchhiking,” and James Schuyler’s poem “In earliest morning.” What do these have in common? They’re all in the first episode of our new podcast! Tune in for free—and while you’re at it, subscribe to The Paris Review for instant access to everything we’ve published since 1953. Maya Angelou, The Art of Fiction No. 119 Issue no. 116 (Fall 1990) There is, I hope, a thesis in my work: we may encounter many defeats, but we must not be defeated. That sounds goody-two-shoes, I know, but I believe that a diamond is the result of extreme pressure and time. Less time is crystal. Less than that is coal. Less than that is fossilized leaves. Less than that it’s just plain dirt. In all my work, in the movies I write, the lyrics, the poetry, the prose, the essays, I am saying that we may encounter many defeats—maybe it’s imperative that we encounter the defeats—but we are much stronger than we appear to be and maybe much better than we allow ourselves to be. Read More
November 14, 2017 Look Inside Paul Cézanne’s Studio By Joel Meyerowitz A few years ago, during a visit to Cézanne’s studio in Aix-en-Provence, I experienced a flash of insight about the artist that I saw as intrinsic to his becoming the father of modern painting. Once having seen it, it inspired me to move in a new direction in my own work. Cézanne painted his studio walls a dark gray with a hint of green. Every object in the studio, illuminated by a vast north window, seemed to be absorbed into the gray of this background. There were no telltale reflections around the edges of the objects to separate them from the background itself, as there would have been had the wall been painted white. Therefore, I could see how Cézanne, making his small, patch-like brush marks, might have moved his gaze from object to background, and back again to the objects, without the familiar intervention of the illusion of space. Cézanne’s was the first voice of “flatness,” the first statement of the modern idea that a painting was simply paint on a flat canvas, nothing more, and the environment he made served this idea. The play of light on this particular tone of gray was a precisely keyed background hum that allowed a new exchange between, say, the red of an apple and the equal value of the gray background. It was a proposal of tonal nearness that welcomed the idea of flatness. Read More